The Italian oratorio Il trionfo del tempo e del disinganno (The Triumph of Time and Disillusion) was written by Handel early in his career, in Rome at a time (1707) when opera was banned from public performance. It is not surprising then that this allegorical but dramatic work, along with La resurrezione and a whole swathe of dramatic cantatas, can be seen as Handel the opera composer-in-waiting. Opening the 2024 International Handel Festival Göttingen, this semi-staged performance was remarkable for capturing the work’s dramatic potential along with exemplary musical values. It also marked the return to the use of the Stadthalle as a festival venue after several years of renovation, and was worth the wait.
The FestspielOrchester Göttingen, conducted by the festival’s artistic director George Petrou, was located on the stage. The four soloists moved around them, behind and on the apron, with large screens at the back. On these were projected some appropriate scenic elements – surging waves, fields of wheat, a bunch of peonies illustrating “il vago fiore”, significant glosses on the texts and close-ups of the singers and musicians. Particularly compelling were the symbols of passing time: a candle burning down, extinguished at the last bar, and a clock ticking down from five minutes to twelve. The narrative arc was somewhat accelerated by cuts in the recitativo sections.
The FOG continues to burnish its reputation as one of the outstanding performing Baroque orchestras of our time. Playing with precision and commitment under Petrou, every phrase was given its due weight by the combined forces, with outstanding solo moments, notably Susanne Regel’s oboe obbligato, and Fernando Aguado’s organ sonata, much enhanced by its video enlargement. A particularly affecting moment was concertmaster Elizabeth Blumenstock being led to the front of stage soloist’s chair for the violin solo accompanying the final piece, the aria “Tu del ciel ministro eletto”.
One person’s misfortune... in this case, due to illness, the previously announced Bellezza was replaced at short notice by the brilliant English soprano Anna Dennis. She has apparently sung the part before (as well as that of Piacere), and brought her exquisite phrasing and accurate coloratura to bear along with great dramatic intensity. The video screens captured her evolving mood, often showing her face looking on over her singing self – particularly effective in evoking her satisfaction in her own reflection in the “fido specchio”, looking smug while defying the arrogant attacks of Time, and gradually giving away to concern and fear as the messages of Time and Disillusion began to sink in. Her singing reached exquisite heights of beauty and feeling in “Tu del ciel”.
The role of Piacere was taken by another eminent soprano, Emöke Baráth, determined to ensure that Bellezza is not swayed by their more serious counsel. Encouraging Bellezza with seductive flattery rendered in rich honeyed tones, their intertwining voices in the duet “Il voler nel fior” was an unmitigated delight. While “Lascia la spina” is in serious danger of over-exposure these days (in both its forms), it is always good to hear it sung well in its native setting. Particularly well-received however was Piacere’s desperate “Come nembo che fugge”.
Tenor Emanuel Tomljenović belied his somewhat cherubic appearance with a stern rendition of Tempo’s strait-laced puritan admonitions, but delivered with fine ringing tone, particularly in the simile aria “È ben folle”. Xavier Sabata, here as an alto Disinganno, impressed in this rather less showy role than some of his recent outings. The quartetto “Voglio tempo” was well delivered by all.
